PATRICK BROGUIÈRE

Twenty-three long years have passed since this fabulous Paris- based multi-instrumentalist published an album, the last being the entrancing "Chateaux de La Loire" in 2000 which I have reviewed glowingly. I had to rely on revisiting his previous albums, including the just re-released "Mont St-Michel" which I consider to be an outright prog classic! Patrick used this prolonged interval to publish various books (France is still very reading friendly) as well as learning magic, which surely inspired this latest opus entitled "A Secret World". As with all his 5 albums, he has maintained a rather conspicuous style that combines Renaissance/Baroque classicism with modern touches on a variety of vintage and non-vintage instruments, as well as incorporating progressive methodology, production, and arrangement values. Passion, Melody, and Atmosphere reign supreme throughout the 10 tracks presented here. The cover work (I am waiting for the CD to arrive, using the download to review) is just as expressive as the sublime "Mont St-Michel" (the CD version and booklet are mesmerizingly beautiful, merci Herve Thibon). I will admit that I have been a devoted fan since his very first foray in 1990, the fairy-tale legend of Broceliande, the mythological French forest situated in the Morbihan region, that had a reputation for dragons, fairies, endless mystery and where necromancers enchanted the world of King Arthur's court, the most famous being Merlin. Talk about prog imagery!

The title track sets the tone from the outset, as the bombastic organ echoes into the deepest realms of the entranced thicket, interwoven strands of fluctuating melody, rich with contrasts, at times sombre cello sounds seek to engender sorrow, tingling acoustic guitar, and serene woodwinds, all mingling into a suppliant choir that crosses the threshold of reality, inflowing towards the unexplainable and ethereal. A final return to the beginning, the loop is closed. The vibrantly pleasant "The Blue Unicorn" is a sonic representation of virtue and honour, flush with elegant bravado and confident gait as the hypnotic mood remains sure footed and yet also somewhat spectral. Marching binary drums and bopping synth bass set the foundation, on which an insistent synth chord keeps the pace. Swerving electronic flurries add to the repetitive magic. The piano plays "Breath" for half a minute, so as to preface the tremendous "King Arthur's March", a regal promenade of pomp and circumstance of the finest medieval vintage, mellotron strings bouncing off the armoured knights' bassinets, pauldrons, gauntlets and sabatons, as they march with their lances held high, shields at their sides. The main theme is appropriately grandiose, and the effect is awe-inspiring. The weaving "In the Corridor" is led by a bass heavy rumble, as if lumbering in the muddy channel, ready for the pointed assault long the defined lines of the joust. Patrick tears off a searing guitar solo that spirals deep into the resistant soul, contrasting with serene woodwinds that settle the outcome.

An unexpected time travel into the future with "21st Century Dancing Man" is easily a feature track here, with a liturgic voice, high-pitched and echo-laden being the spotlight peculiarity, careening effortlessly amid the modern beats as the electronic shuffle and the theme coalesce into a sensational 5-minute dance. This convergence of medieval and futuristic is superbly rendered. The swooning escapism of "The Magical Path" suggest a sense of wonderment and gentle euphoria, a breezy affair with sharp brass blasts and led by a roguish piano that announce some illusionary track into the unknown, as well as the unseen but definitely the well heard. The whistling sounds, the ivories swaying in harmony and that trembling bass furrow, all combine to enchant, entrance, and entertain. Timeless, restrained, and secure artistry at hand. A troubadour moment with the impish "Out of Time", a solo acoustic guitar flicker of lanterned illumination, as introduction to the gallant transition on "In My Dreams", where acoustic guitar maintains its minstrel quality, the cello scouring the banquets hall's walls in mournful splendour. The drums enter the fray, solidly foundational for the voices both male and female, in apparent bonding. Just plain stunning.

The classic "Faust and Mephisto" finishes off this marvellous offering, a take on the German legend whereby the aging alchemist and wholly dissatisfied with his life Faust offers his soul to the devil's agent Mephistopheles in order for the former to use temporary magical powers to seduce the young and very attractive Gretchen. This cannot and doesn't end well, needless to state. Johann Goethe wrote a play and Charles Gounod a revered opera, so this sits well within the mainstays of contemporary art. Patrick gives a five-minute musical revisit, a revamped experience of confusion and doom, of despair and sacrifice, as the piano intones the subjugation of the desperate erudite, who cannot even fathom the trap in which he is now forever condemned to enter. Naturally, this is perhaps the more overtly classical stylized piece here and ends on quite the serious note as Faust soul is taken over by the devil for evermore.

As with many artists that I target for review, these are the ones who are wholly meritorious of being discovered and encouraged by the prog public at large, as well as admired for their determined passion. I suggest visiting his bandcamp page at broguiere.bandcamp.com and see what a delightfully gifted artist (and magician) Patrick Broguiere is.

5 confidential realms

This is the latest Patrick Broguiere album, sent to me by the artist as a reward for reviewing glowingly his previous Mont St-Michel, a thoroughly satisfying recording that I find unimaginable to surpass. Upon first glance, the packaging is again absolutely dazzling (Herve Thibon's paintings rule!), gorgeous artwork, booklet and cover. Patrick handles all the usual instruments including viol da gamba and crumhorns. Pierre-Yves Theurillat guests on vocals, he from now defunct Swiss band Galaad.

His preceding albums have been influenced by the Arthurian legends (Broceliande), the museum (Icones) and a World Heritage site (Mont St-Michel), so it's fitting that he now tackles another French national treasure the famous Loire castles, magnificent Renaissance "chateaux" that lie near the Loire River in Western France. Some are world famous such as Chateau de Chambord, Chateau d'Amboise and Chateau de Chenonceaux. Others lesser known like Blois, Azay and Montsoreau . These magnificent palaces were erected during the XV and XVI centuries and were historically crucial in the various conspiracies that heralded the political upheavals which would continue until and beyond the Revolution Francaise.

The music is as stunning as on Mont St-Michel, another exhilarating sonic exercise than incorporates medieval sounds (such as the exquisite harpsichord on "La Conjuration d'Amboise") and colossal collisions between crumhorns dueling with frenetic lead guitars within the framework of traditional dance music styles such as the solemn pavane , the pulsating galliard and the swifter saltarelle . Some Oldfieldian perfume wafts through the grooves with refreshing splendor, giving this a modern veneer that is quite exhilarating. Tortuous, semi-operatic vocals are introduced on "the Ballad of Scarface" to great effect, giving this track a hint of that other amazing French prog-folk artist, Motis. The story recalls the assassination of the Duc de Guise at chateau de Blois, one the more somber chapters of French history, by order of the king Henri III. "Chambord" on the other hand, is pompous, grandiose and majestic, just like the imposing castle that attracts tourists from the world over. Orchestrated to great effect, the neo- classical structure is very appealing and the music architecturally exact. "A Celebration at Chenonceau" is a playful stroll between the glory and splendor of this magnificent edifice and its extensive waterworks, the flute being the undivided chaperone. When the organ enters the fray, the mood becomes more ostentatious but is just a stepping stone for the dazzling lead guitar dance that ends the song. The final 2 part "The Gardens of Villandry" summarize this disc with its trademark build-up, percussive carpets with string-synths, swirling rhythmic identities showcased by strong playing, evocative mindscapes for the medieval prog fan to drool over.

This musical promenade is on par with the previous masterpiece, almost a second volume, if you like, a complete package for the progressive connoisseur. Escapism of the very highest order, a bold historical revisit of France's glorious past, kept alive by its numerous cultural jewels. Perhaps more so than ever before, fans of classic Gryphon would be thrilled to death at the thought of listening (or dancing) to this marvel! I just love this style of music, so I am biased ?..

But very happy.

5 sparkling river castles

There are a slew of progressive artists that sadly remain in the relative shadows as even within the prog community, too much fuss is still gushing over the 'golden age' and its undying monuments (most of whom haven't released anything tasty in decades!). We all know who they are. This leaves little time to focus on the 'lesser' stars in the prog galaxy by most of us but not all. I have come to the controversial conclusion that there is more powerful prog today then in 1973 and I believe I have that right since I lived it fully as a music hungry 17 year-old . It's just that Yes, KC, Genesis, Tull, ELP and Floyd were new and galvanizing, rock music played by talented virtuosos instead of inept junkies (most punk bands but not all, I am not that conservative!). But especially since 2000, there have been tons of incredible releases full of dense, well lubricated timeless prog. It took a while for this inspired French artist to be included in the PA community, a shame really, as Patrick Broguiere represents the archetypical modern prog artist succinctly. A professional for whom music is way beyond a hobby, a pastime or a way to pick up chicks, it's a serious kind of epiphany to willfully create music knowing that economic gain is a pipe (organ) dream! So there are architects, dentists, businessmen, civil servants, pilots who moonlight as artist in their basement with all the PC based equipment available for a mere pittance and compose amazing music. I fell in love with Broguiere's 'Broceliande' after only skipping through it in a store and bought it on a whim. I jumped immediately on the masterful third 'Mont St-Michel' which I glowingly reviewed recently and that has a pantheon spot on my top 50 all-time list! In the finest medieval prog tradition, the mythical forest of Broceliande is the theme that will provide a musical adventure within Arthurian legend, invoking Lancelot, Merlin, Avalon, Galahad and the Quest of the Round Table we all know and love. From the first notes of the 'Ouverture', the intent is clear, a modern instrumental adaptation of historical lore, with fresh electric guitar musing along with the flutes, synths right next to the harpsichord, organ embracing piano. The only slight negative is the use of drum programming which gives the delicate symphonic sheen a shadow of rigidity. But the great Oldfield was guilty of this also way back when and Patrick did well to get a real drummer for his Mont St-Michel milestone. There are some incredible moments here, the brief 'Merlin L'Enchanteur' is like a variation on classic 'Greensleeves', a simply stunning slice of genius. The booming church organ on the sweet 'Le Mariage d'Arthur' is equally phenomenal. 'Chanson de Vivianne' is outright magical, the oily guitar lead splashing over the chords with glee .'Le Pays Sous le Lac' remains imprinted on the listener's mind long after hearing it, aquatic revolutions that sound like Moerlen-era Gong, the repetitive keyboard sound is like a vibraphone that is pure hypnosis. The mandolin theme is achingly attractive, mysterious and memorable like some vaporous opiate cloud. This hypnotic theme will be repeated on the epic workout 'La Fin des Legendes' much to our delight. 'Lancelot du Lac' has serious medieval slants, motivated piano and agreeable flute exercising their wish to bond, a prime piece of music once again. On the finale 'La Quete' , the grandiose and the majestic themes bid a farewell to the experience and create a welcome sense of pleasure.

But some tracks are less inspired such as 'La Bataille d'Avalon', more playful and bombastic, hence providing added context but nothing remarkable. Or the solemn 'Le Chateau Aventureux' and the cinematographic 'Galaad' are pleasant but nothing more.

An artist that deserves more recognition and praise surely but get 'Mont St-Michel' first before embarking on any Broguiere adventure. It will seduce the knight in you!

4 Carnac druids

There are few hidden gems more deserving of salivating praise than this insanely scrumptious album from unknown French composer and multi-instrumentalist maestro Patrick Broguiere. I have been waiting for this inclusion into the PA community, a deserved arrival that needs some serious attention, as this album is on my top 50 all-time list. His previous works, the highly medieval Broceliandre and the museum visit Icones were more than pleasant listens but Mont St-Michel simply out distances his past work as well as many others that claim progressive brilliance. Everything is utterly splendid, the artwork, cover and booklet (the paintings by Herve Thibon are gorgeous) are probably the finest this reviewer has ever seen (er... I've seen a lot!), the instrumentation is top notch with whirling keyboards, piercing guitar, real drums, stunning strings and lush arrangements especially on the vocal side. Jerome Wolff adds saxophone liberally and does it well. What makes this such a winner is the overt musical celebration displayed, never murky, bland or wispy, au contraire, the delivery is always focused and exalted. Patrick expertly handles all guitars, bass and keyboards in a style that will recall hints of Mike Oldfield. For those who do not know, Mont St-Michel is a famous tidal rock island has been a strategic point holding fortifications since ancient times, and since the 8th century AD it became the seat of the Saint-Michel monastery, from which it draws the name. Victor Hugo of Les Miserables fame was imprisoned here by his nemesis Napoleon III. It remains today a Unesco World Heritage site and a massive tourist attraction.

Gregorian chants introduces the three part "The Archangel's Finger", sandwiched between the title track and wastes little time in setting a glowing melody that is both serenely bewitching and haunting, with that Oldfieldian flair, a musical gallop into the gothic/medieval past that is highlighted by some lovely piano and vocal work. Percussion adds even more dynamics to the mix. The second and third segments are string driven things that infuse a sense of history and gloomy past, violins, violas and cellos evoking heady times of power and glory. When the brilliant sax kicks in, the bliss becomes highly effusive (that Wolff man can blow!) and the gentle piano outro is delicious. After a brief string quartet interlude ("The Thirty Candles quartet"), we are transported into a bluesier world, where the extended guitar picking vies with the plaintive violin in a gentle duel. The piano driven finale is achingly pretty. The 2 part "A Night in the Abbey" is perhaps one of the finest medieval ?prog compositions ever recorded, featuring an orgasmic soprano aria from Patricia Samuel that would rival Floyd's anthemic "The Great Gig in the Sky", I mean WOW! Haunting Gregorian choirs starts this mother off, the powerful bass forging ahead convincingly, rumbling church organ blasting away with religious zeal, laying down the tonal carpet on which Mademoiselle Samuel wails away (this is spine tingling stuff). The manner in which it is slowly building up to a paroxysm is to be duly noted, on par with "Sailor's Tale" by KC and of course, the classic PF track mentioned earlier. I am a sucker of operatic wailing anytime of the day and it does not get better than this I assure you, especially when she hits those impossible high notes! My goodness?? worth getting for this moment alone. Talk about sonic orgasm."Theme of the Pigrim" brings us back to a sense of reality, sliding from ambient to quirky to playful, in an almost Gentle Giant way, extremely musical and developed . The track builds a head of steam when the resounding lead guitar enters the fray, giving direction to the dissonance and reappears repeatedly with more vigor. Very slick?.."Gothic Gargoyles and Lace" continues on the path, interjecting gruesome gargoyle voices, cubic synths and solemn strings (viola is such a fabulous instrument) while the drums pound mercilessly. The modern and the ancient clash with energetic gusto. The sensual sax makes another sexy appearance. The wispy "Quicksands" prefers more orchestrations and a classical outlook as if acting as a prelude for the majestic" A Feast in the Guest Hall" , another corker that visualizes a raucous medieval banquet, with prancing troubadours and blazing torches, laughing, dancing and general cavorting (belches not withstanding) and hence Patrick reprises the main theme of the title track, violins ablaze. An orgy of colliding themes both classical and rock teem without restraint, gentle plucking acoustic guitars, vibes, flutes and then, boom, ripping guitars smashing through the festivities. The serene acoustic guitar on "In the Crypt" serves to prepare for the grand finale "Immensi Tremor Oceani" referring to the constant threat of engulfment by tidal waves of this little rock in the middle of the English Channel. Musical prayers beckoned by chanting monks, church organ, acoustic guitar, bass and marshalling drums all collaborate in the euphoria.

Understandably, not all fans will like this formula but I have always enjoyed going to wider boundaries than the usual staple of rock n roll, so this is just another elevation in the process. Open ears create open minds. I love baroque, renaissance and medieval-folk as well , so if I can infuse that with some finesse prog, who am I to complain? Obviously fans of The Morrigan, Iona, Colin Masson, Minimum Vital (and its offshoot Vital Duo) and classic Oldfield should flock hysterically towards purchasing this masterpiece; it has EVERYTHING you could want in prog.

5 magic monasteries

I've always thought that it is most important when compiling a music CD to have a strong start and a strong finish. And this album succeeds at both. The two parts of Museum was a wise choice for Patrick Broguiere to open and close this album. With heavy symphonic overtones, these tracks give the listener a good feeling.

Inbetween, the music is less spectacular. Some of it is okay, with sounds that could be incidental music from a renaissance period movie. But much of the album doesn't fare well, coming dangerously close to new age. And Ceci N'est Pas Un Braque is simply annoying, sounding like Euro-disco.

But there is enough listenable music for me to just barely give it three stars.